Monday, 28 March 2011

After mentioning the launch of Broken Bubble in our interview with him at the beginning of the year, Cogidubnus has since been pushing the label hard and this month drops this free compilation as a sample of what his roster has to offer. Featuring fourteen tracks, collaborations and remixes from Duskky, Hurtdeer, Cogidubnus, wAgAwAgA, Blood Boy, Second Line, Sorrow and Macka the collection is what a compilation should be, in that each of its parts complement each other to form a selection which stands up as a whole whilst simultaneously leaving enough room for the individual tracks to breathe. The sound being pushed here is an intelligent one with a thoughtful approach to production in which nothing is spared and each component earns its space; the attention to detail in percussion is striking, as is the way in which both melodies and samples slot in effortlessly.

'We Can Build You' can be streamed and downloaded in its entirety on the player below.

There is also a discount on offer over at the Broken Bubble store which is available exclusively to Hedmuk readers for the next two weeks (until the 8th of April): just enter the code 'hedmuk' at the checkout to get a 25% discount on any items purchased.

Friday, 25 March 2011

Our latest feature comes courtesy of Belgian production duo Subreachers. With a style that touches on a wide-range of sounds within bass music, their beats are hardly confined by any notion of genre specific sounds. Unafraid to build lush, atmospheric layers, uncompromising in their emphasis on heavy-sub and above all dedicated to making music with feeling, be it deep, dark or ambient, their production output is one of real depth, variety and originality. With a slew of releases lined up for the coming year, including a 12" on the forward-looking bass label Orientis records, we caught up with Subreachers to discuss future plans, their sound and the Belgian bass scene.

HEDMUK: To introduce yourself to those who don't know yet, what are your names, where are you from and how would you describe the music you make?

Matthias Subreachers: Hi my name’s Matthias, I’m from Londerzeel, near Antwerp, Belgium. The music we make is hard to describe because it’s so broad, it goes from autonomic style D&B to dark low end dubstep or even experimental ambient soundscapes. For us a name, tempo or genre doesn't really matter. We just make whatever comes up in our minds not really taking notice of any particular genre or sound.

T: Of course we have a lot of influences but we try not to focus too much on what other people are doing and try to do our own thing.

H: Did you produce individually before joining to form Subreachers? How did you get in to making beats together?

M:We where both total novices when we started Subreachers, so no.

T:We actually started fooling around in Ableton just out of boredom in between some home DJ sessions. Matthias and me knew each other from back in high school, after we changed schools we both went a different way and it wasn’t until a few years later we met up for some drinks. We started talking and found out we were loving the same music; after some home sessions we decided we were going to start doing Subreachers.

M:At that time we didn’t have a name or were playing any gigs. When we started making beats together one of them got airplay on national radio in the now cancelled show Baselab. We didn’t have a name for ourselves so it was due to that event we had to come up with something really quick.

T:Come to think of it before I got into dubstep, I was making weird disco/house edits. I own a lot of old records and I used to have hours of fun cutting those up and making edits with a tape deck.

M:Eventually when we got serious about making beats it picked up for us. Our first release on Medschool will be out next week and our debut 12" should hit shelfs sometime soon.

H: What are the advantages, in your opinion, to working as a production duo?

T:For us it’s the amount of work you can get done faster.

M: We make tracks together but we also produce tracks on our own, that way we can put out a large amount of tunesconstantly. When one of us isn’t as productive for a while, the other one will kind off fill in that void.

H: There’s a real diversity to your production, does this reflect a wide range of influences?

T & M: We certainly have alot of influences.

T:House/techno certainly for me is a big part of that influence. Especially Chicago and Detroit are two of my main influences. The amount of soul put in those records is sometimes jaw-dropping.

M: But it’s not the only influence. Jazz, ambient, drum & bass and so much more also has a strong influence on us.

T:We listen to a lot of music and pick up anything that strikes our ear. If a day had 48 Hours we would probably spend 46 hours of that day just listening to beats.

H:Given the range in your production what, do you think, is the defining characteristic of your tunes?

T: Atmosphere, we always work hard on creating an atmosphere.

M: Be it a dark or soulful one, that changes in every tune. But tunes that don’t do something to people (even if it annoys them) don’t serve a purpose. For us tunes need to create a certain feeling when you hear them.

H: Are there any tunes in your production repertoire that particularly stick out for you? Why is this?

M: We’re still learning every day so we can’t really agree on what is the best one is, up to date. Every tune we make is different and therefore it’s almost impossible to decide on which is the best one.

T:But Elysian Fields sticks out, not because we think it’s the best, just because it was the first drum & bass tune we did and it instantly got signed to Medschool.

M:The way we like our own tunes changes throughout time, for now I would say Foundationsticks out the most.

T:It portraits the soulful side of our productions really well, and the elements we used in that tune really stick out.

H: We’re aware of nights like Midnite Run, pushing the deeper side of things in Belgium; what’s your take on the Belgian bass scene – is it lively?

T:Belgian bass scene is OK, the past year a lot of young people came on the scene who like deep sounds and want to push it. Of course there’s always constants like Untitled! and Daily Dubstep who push things on a bigger scale, which is great because they helped to put Belgium on the map in bass country.

M:But it’s also nice to see some smaller promoters take the chance of pushing deep nights. The scene is pretty lively but also very tight, most producers/DJs/promoters know each other. We like it that way though.

H: Can you take us through how you went about putting together a tracklist for the mix.

T: Improvising is key for when we do mixes, we don’t work by set tracklists and just do what feels good at the time

H: Any plans in the pipe-line or forthcomings you'd like to put the word out about?

T & M:We've got a 12 inch dropping somewhere around June, we can’t really tell you too much about it but we’re really happy with it! There’s also another 12 inch dropping sometime this year with two collabs by ourselves and Antics on Orientis Records. Furthermore we got our release on Medschool Newblood011 dropping next week and a release on Embassy records somewhere this year.

Friday, 18 March 2011

Straight off the back of his debut radio appearance on DJ Q's UKG show on 1Xtra, Royal-T drops this mix to support his first show across the channel in Europe. The mix moves through the full spectrum of Royal-T's sound with a blend of upfront grime vocals alongside steppy remixes and current dancefloor smashes, such as Royal's nostalgic-sampling version of 'It's Wiley'.

Wednesday, 16 March 2011

UK Garage legend and Dubstep pioneer, Oris Jay (aka Darqwan) has today given out three of his remixes of early-noughties pop hits. Putting his instantly-recognisable scattered percussion work on the tracks and laying a growling bassline, typical of his output as Darqwan, underneath the hooky vocals, these mixes add a darker edge whilst maintaining the ability to move any dancefloor.

Friday, 11 March 2011

Through acute attention to detail and with precision bordering on perfectionism when it comes to creating and layering sounds, Thelem's tunes are a showcase of balance and a sense of control. Making sub-heavy music, but without overdoing the sub, he may be included in the new breed of producers who are more audibly influenced by the spacious sounds of early-noughties producers such as Cyrus, Loefah and D1. There is no nostalgic emulation, however, as subtle differences in basslines and a greater emphasis on percussion set this sound apart; a degree of respect for the eyes-down origins of Dubstep is prevalent here but, with that same sense of balance, remains progressive and forward-thinking. This is something furthered through Thelem's record label launched earlier this year, Orientis Records, which maintains a dedication to vinyl with its releases. We caught up the man himself and got him to lay down the latest installment in our exclusive mix series, which is another deep selection strewn with dubplates.

Hedmuk:For those who don't know, what's your name, where are you from and how would you describe your sound?

Thelem: Easy, my name's Matt aka Thelem and I am from the Hampshire area. I would describe my sound as the deeper and darker dungeon vibes.

H: Would you describe yourself as from a musical background, or is something that you have picked up yourself?

T: Well it’s quite a long story actually; I never came from a musical background but have always been the creative type. I don’t think I would have ever of got into music production if I hadn’t lived in a shared house with my mate Tom aka Risc Terilia. I was always into Hip Hop, Grime and a bit of D&B, but in 2006 when I moved in he showed me dubstep. I loved the sounds of Loefah as it was on a similar kind of tip to some hip-hop beats with the 808’s and that. From there I wanted to learn how to make beats, Tom and Coleco already being good producers taught me the basics in Fruity, I then moved onto Logic and it all developed form there really.

H: What or who else do you take influence from when it comes to making beats?

T: Well I draw a lot of my inspiration from the earlier more original sounds of dubstep. Recently I have been getting more into sampling old sci-fi films, I have started to collect old sci-fi film soundtrack vinyl’s to find some more original sounds. Lately I have also been getting more into drum funk, taking a lot of inspiration from the producer Paradox, who to me is the master of atmospherics and drum work.

H: Your label, Orientis Records, has made a strong start this year with backing from influential names in the scene; what have you got planned for the label for the rest of the year?

T: For Orientis this year the main aim is to keep pushing it, making it more of an established label. I want to work more with the crew we got involved and release good music.

H: How important is it that all releases on the label are vinyl releases?

T: Well in my opinion I think that vinyl releases are important for the label. I believe that when you have a tune on vinyl it feels like you actually own the tune in a kind of physical way, rather than just having a digital copy sat on your computer. Without sounding arrogant or something, I think that pushing your label as a vinyl-orientated people tend too take it a little more seriously too. Saying all this though, I am aware times are changing and the digital format is increasingly getting more popular. So I think in the future we will be looking at doing some pure digital compilations with the artists involved, which will help to push and spread our sounds.

H: You play regularly on Rood FM; how did this come about and what sort of vibe do you try and achieve with your show?

T: My mate knew the guys who run Rood.fm and got me in contact with them, funnily enough they ended up living 2 minutes down the road from me. I messaged them about getting a set, explaining about Orientis and myself, it all went form there really. As for my show I want to push the sounds from the Orientis crew and my mates, I also like to play allot of older classics, which are sometimes forgotten about, or people are unaware of.

H: Can you take us through how you went about putting together a tracklist for the mix.

T: For this mix I wanted to keep it on an eyes-down vibe, showcasing some of the forthcoming Orientis tunes and a few of my own bits. Also adding in some tunes from producers I am really feeling and supporting at the moment.

H: Finally, is there anything forthcoming or in the pipeline that you want to put the word out about?

T: Well I am putting out a few of my tunes, forthcoming on ORTS002. Clips can be heard on my Soundcloud page or on the Orientis Soundcloud. The tune ‘Constrained’ featured in the mix is forthcoming on Mindstep Music. Would also like the opportunity to play out more, so if anyone's interested they can hit me up on djthelem@gmail.com. Big ups!

Monday, 7 March 2011

Frisco follows up his tentatively-received debut album, 'Fully Grown', with this 'set things straight' freestyle. The 'Ghost Train' beat, produced by the man himself, comes on like a laid-back version of Skepta's 'Mike Lowery' and allows Frisco to adopt his classic slick flow in addressing some of the backlash at the more pop-oriented sound prevalent on 'Fully Grown'.

Friday, 4 March 2011

Another rising star of the grime scene, and someone who's been around since Aftershock, Mz Bratt has today given away the bouncy 'Get Dark' which combines her usual snappy flow with a beat and hook aimed straight at the dancefloor.

There is, of recent, a renewed momentum within the Dubstep scene; more specifically, a new wave of producers, pushing the dark, brooding, sub-heavy sound that many would associate with the likes of Kryptic Minds, Cyrus, or Distance have come to the fore. This should not be mistaken for simple imitation, producers such as TMSV, Lurka, Killa & Instinct, J: Kenzo, Pressa, Thelem, Benton, Myrkur and Sleeper, are all making tunes of startling originality and quality. District's production, dank and bass-driven, fits comfortably with this crowd of beat makers gaining increased exposure. Following sustained support from the likes of Distance and more recently Youngsta, we caught up with District to discuss his influences, future projects and to get his take on the state of the scene. In addition, District has laid down a heavy mix, packed full of dubs, as part of our mix series. Enjoi:

HEDMUK: To introduce yourself to those who don't know you yet: what's your name, where are you from and how would you describe the beats you make?

District: Hi, my names Dan. I'm from Coventry, England and I produce beats under the alias 'District'. I'd describe the sound I aim for as dark and bass heavy.

H: Are you from a musical background or was it something you picked up yourself?

D: I've played guitar since I was about 9 years old, from the age of about 18 - 23 I was playing in bands, death metal, hardcore punk, that kind of stuff. Rad times....

H: Where do you draw your influences from?

D: Loads of things. Music wise, quite a lot of drum and bass, techno, jungle, all that autonomic stuff, metal, hardcore, I'd definitely say that now I’m not in a band I’ve tried to sneak little hints of that in my tunes. I've always been fascinated with movie concepts and things like that, it’s probably a cliché to say this as an electronic artist but Vangelis' soundtrack to Blade Runner is what made me want to get involved with synths and stuff. A lot of 80's horror and sci fi movies, even some of the worst movies of that decade seem to have more character than anything that’s come out in the last ten years or so. I’m probably being a bit more dismissive here. anything to do with Stephen King, Clive Barker, John Carpenter anything that Tom Savini has played a part in, anything to do with those guys are full of atmosphere and creativity. They didn't have computers to rely on.

H: When did you start making beats?

D: I went to college about 5 years ago to learn how to record bands and stuff, I met sleeper on the same course and he showed some drum and bass he was making at the time on the same software we were using to record. I've been mucking around for a few years but only really started taking it a bit more seriously a year ago when I stopped playing in bands. '3.5 grams' was the first tune I finished that I was happy with and could be classed as dubstep.

H: Tell us a bit more about you relationship with Sleeper. Do you see yourself as a production duo or do you prefer to define yourselves individually?

D: As mentioned in the other answer I've known him for a little while. When I started getting a bit more confident with the sounds I was making he was the first person I sent anything to. We've been collaborating on a few different things for the last year or so, different tempos etc. I think we both have strengths as individual producers; he's been producing a lot longer than me so when we combine we try to play on each others different strengths. Even on individual tracks we send each over the tunes for feedback etc.

Oh, and playing Trials HD while one of us works on individual parts of the tune. It might seem a bit backward playing the Xbox while collaborating but switching off for 20 minutes or so while one person works on the track helps us keep the track fresh in the ears. If we were both hovering over the pc all day both our ears would get knackered.

H: Youngsta has been playing a few of your beats recently. What does it mean for you to have someone as influential as Yunx listening to and playing out your tunes?

D: Yeah it's big. Both of us are big fans of Youngsta and the sound he pushes. The exposure has definitely helped us out a lot and continues to do so. I'd have to credit Distance as well though for playing the beats out first, he found us and introduced our tunes on to Youngsta as well as a lot of other people.

H: Has any increased exposure helped develop your production? Any tips from other producers/DJ’s ?

D: For sure, the last few months in particular I think have been fruitful. Distance, Tunnidge, Cyrus and Youngsta have given Sleeper and Myself pointers. Not just from a production aspect either. Hopefully that’s visible on some of the newer tracks that feature on the mix. The learning curve keeps production interesting for me as well as a challenge. There's a definite science to producing this kind of music, I don’t mind admitting I still have a lot to learn.

H: There is a new generation of producers gaining increased exposure within the Dubstep scene with the likes of Lurka, Killa and Instinct, TMSV, J: Kenzo, Benton, Sleeper and yourself all leaving lasting impressions of recent. Do you feel there is a renewed energy? What does it mean for you to be part of it?

D: It’s awesome. Every single producer mentioned there has a distinct sound and character to their beats, and that’s important. Without speaking directly for the others, there seems to be a slight push against some of the music that’s been put forward as dubstep over the last couple of years as its popularity has increased. I wouldn't want to discredit anybody else’s work or say it’s not dubstep. Right now it’s about being positive about the sounds everyone is pushing, and focusing on that. Its sick how many different people have started to creep out over the last 18 months or so with the same attitudes and enthusiasm for the darker sounds.

H: Tell us a bit about the mix you’ve put together for us.

D: Well, it’s just the sort of tunes I feel as a producer I want to represent, there's a lot of stuff from myself and Sleeper as well as a few other producers. It’s not too far from what I’d play out in a club environment. Hopefully people will enjoy it and can hear where I'm coming from.

H: Finally, any news, future projects or releases in the pipe-line?

D: I've got a few things on the go, I’m in the middle of finishing off the first few collaborations of mine with sleeper, a four way thing with myself, Sleeper and Killa and Instinct that I’m looking forward to as well as individual tunes. Release-wise, there are some things in the pipeline but that’s all I’ve got to say at the moment on that subject...

Thursday, 3 March 2011

Arguably one of the fastest-rising producers in the scene at the moment, Benton's technical ability in building tunes is clear. With a diverse output which represents the full range of sound from deep, spacious beats to more aggressive, jump-up tunes with a dancefloor focus. 'Take Me Away' falls closer to the former category, and drapes a haunting female vocal over a halfstep beat and snatches of synth.